387
387

PROPERTY FROM AN IMPORTANT NEW YORK PRIVATE COLLECTOR

Henry Moore
WORKING MODEL FOR SEATED FIGURE: ARMS OUTSTRETCHED
前往
387

PROPERTY FROM AN IMPORTANT NEW YORK PRIVATE COLLECTOR

Henry Moore
WORKING MODEL FOR SEATED FIGURE: ARMS OUTSTRETCHED
前往

拍品詳情

印象派及現代藝術日拍

|
紐約

Henry Moore
1898 - 1986年
WORKING MODEL FOR SEATED FIGURE: ARMS OUTSTRETCHED
Inscribed Moore and numbered 2/9
Bronze
Height: 25 in.
63.5 cm
Conceived in 1960 and cast by the Fiorini foundry, London in 1984 in a numbered edition of 9 plus one artist's proof.
參閱狀況報告 參閱狀況報告

This work is recorded in the archives of the Henry Moore Foundation.

來源

Weintraub Gallery, New York
Acquired from the above in 1987

出版

Alan Bowness, ed., Henry Moore, Sculpture and Drawings, 1955-1964, vol. 3, London, 1986, no. 463a, illustration of another cast pp. 98-99
David Mitchinson, ed., Celebrating Henry Moore, Works from the Collection of the Henry Moore Foundation, London, 1998, no. 192, illustration of another cast n.p. 

相關資料

The human figure was Henry Moore’s abiding passion and the primary subject of his art. Working Model for Seated Figure: Arms Outstretched, conceived in 1960, belongs to a series of sculptures that Moore created in the 1960s that occupies a key position in his oeuvre. 

The influence of Cézanne on Moore’s work is particularly apparent in the present sculpture (see fig. 1). Reflecting on his lifelong passion for Cézanne’s work and its importance to him, Moore wrote with particular reference to Les Grandes baigneuses: “Cézanne’s figures had a monumentality about them that I liked. In his Bathers, the figures were very sculptural in the sense of being big blocks and not a lot of surface detail about them. They are indeed monumental but this doesn’t mean fat. It is difficult to explain this difference but you can recognize a kind of strength. This is a quality which you see only if you are sensitive to it. It’s to do with the full realization of the three-dimensional form; color change comes into that too, but not so importantly as human perspective. Bathers is an emotional painting but not in a sentimental way. Cézanne had an enormous influence on everyone in that period, there was a change in attitudes to art. People found him disturbing because they didn’t like their existing ideas being challenged and overturned. Cézanne was probably the key figure in my lifetime” (quoted in Alan Wilkinson, ed., Henry Moore, Writings and Conversations, Lund Humphries, 2002, pp. 150–51).

In 1959, a year before the conception of the present work, Moore managed to acquire for himself one of Cézanne’s paintings of bathers, later declaring, "It's the only picture I ever wanted to own. It's...the joy of my life. I saw it [in 1959] in an exhibition and was stunned by it. I didn't sleep for two or three nights trying to decide whether to [buy it]...To me it's marvelous. Monumental." (quoted in Monitor, first broadcast in 1960).

印象派及現代藝術日拍

|
紐約